DOCSLIB.ORG

Media Conversion from Webtoon to Television

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Media Conversion from Webtoon to Television Media Conversion From Webtoon To Television A Case Study Of: I Sneak A Look At His Room Everyday And Flower Boy Next Door. Therese Angenberg Norin Department of Asian, Middle Eastern and Turkish Studies MA Thesis 60 HE credits Korean Studies MA Asian Studies (120 credits) Spring term 2018 Supervisor: Sonja Häussler ABSTRACT Although webtoons have become one of the largest consumed media in South Korea, and many webtoons have been adapted to both film and television, there has been a lack of research on webtoon to television adaptations. This thesis will investigate the specific characteristics of the webtoon that make it suitable for television adaptation using the webtoon I Sneak A Look At His Room Everyday by Yu Hyŏn Suk and the television series Flower Boy Next Door directed by Chŏng Chŏng Hwa. By using narrative structure and character analysis the two works will be compared and contrasted to discover the similarities and differences that enable a smooth media conversion. The second part of the thesis looks into what a webtoon is and how it has evolved during the years. To explore the characteristics for media conversion the webtoon and the television series were analysed both separately and compared to find the commonalities and the differences. The results indicate that using similar storytelling methods such as story-arcs play a large role in the success of webtoon to television adaptation. Both media needs to keep their viewers on their toes to make them want to read/watch further. Keywords: South Korea, Webtoons, Televison, Adaptation, Media Conversion, Flower Boy Next Door, I Sneak A Look At His Room Everyday (story-arcs) Contents 1. Introduction ........................................................................................................................ 1 1.1 Purpose Of Study ........................................................................................................ 1 1.2 Sources And Previous Research .................................................................................. 3 1.3 Methodology ............................................................................................................... 4 1.4 Transcription And Korean Names............................................................................... 6 2. What Is A Webtoon? .......................................................................................................... 7 2.1 Manhwa ....................................................................................................................... 7 2.2 Definition And History Of The Webtoon ................................................................... 7 2.3 The Webtoons’ Storytelling Method And Vertical Scroll Format ............................ 10 3. I Sneak A Look At His Room Everyday ............................................................................ 12 3.1 Introduction Of The Webtoon Artist ......................................................................... 12 3.2 Main Characters In The Webtoon ............................................................................. 12 3.3 Synopsis .................................................................................................................... 13 3.4 Character Analysis .................................................................................................... 15 4. Flower Boy Next Door ..................................................................................................... 16 4.1 Introduction Of The Director .................................................................................... 16 4.2 Characters .................................................................................................................. 17 4.3 Synopsis .................................................................................................................... 18 4.4 Character Analysis .................................................................................................... 19 5. Comparative Analysis Of I Sneak A Look At His Room Everyday And Flower Boy Next Door ......................................................................................................................................... 22 5.1 Major Differences Between The Webtoon And The Television Series .................... 22 5.2 Differences And Similarities Between The Characters ............................................. 23 5.3 Comparison Between The Webtoon And The Television Series .............................. 23 5.3.1 Webtoon Chapters 1-5, Television Series Episodes 1-2. ........................................ 23 5.3.2 Webtoon Chapters 10 -15, Television Series Episodes 3-5 .................................... 25 5.3.3 Webtoon chapter 49, Television Series Episodes 6-14 ........................................... 27 5.3.4 Webtoon Chapters 52-END, Television Series Episodes 15-16 ............................. 30 5.4 Flashbacks ...................................................................................................................... 34 6. Conclusion ....................................................................................................................... 35 7. Limitations and Further Study ......................................................................................... 36 8. References ........................................................................................................................ 38 Internet Sources ....................................................................................................................... 39 1. Introduction 1.1 Purpose Of Study In this thesis I will analyse the webtoon I Sneak A Look At His Room Everyday (Nanŭn maeil kŭrŭl humch’yŏ ponda, 나는 매일 그를 훔쳐본다) by Yu Hyŏn Suk and the television series Flower Boy Next Door (Iutchip kkonminam,이웃집 꽃미남) directed by Chŏng Chŏng Hwa. Flower Boy Next Door was broadcasted in 2013 and was one of the first television series to be based on a webtoon. Another television series based on webtoons at the time was Mary Stayed Out All Night (2011)1 which was based on a webtoon with the same name published by Wŏn Su Yŏn on Kakao Webtoons.2 Both of the webtoons had a fairly big group of followers but the television series failed to reach the same success. Mary Stayed Out All Night had an average rating of 6.3%,3 and Flower Boy Next Door had an average rating of 1.3%.4 These ratings would seem to indicate that Mary Stayed Out All Night was much more popular than Flower Boy Next Door. But actually Mary Stayed Out All Night was broadcasted on KBS5 which is a public TV channel, whilst Flower Boy Next Door was broadcasted on TvN, a cable network. If we consider that in 2013 it was rare for cable network programming to reach over 1% in ratings, it can be concluded that in fact Flower Boy Next Door was the more popular television series of the two. Although the success of the television series Flower Boy Next Door could be measured using the official TV-network ratings, it is much harder to say how successful the webtoon was in terms of statistics. I was unable to recover any data regarding the number of hits or visits for I Sneak A Look At His Room Every Day. The initial intention of this research paper was to analyse not only the characteristics that make the webtoon suitable for television series adaptation, but also to look into the ways in 1 Sŏk Ku Hong and Yŏng Kyun Kim, “Mary Stayed out All Night (Maerinŭn Oebakchung, 매리는 외박중)” (KBS, 2011), http://www.kbs.co.kr/drama/mary. 2Su Yŏn Wŏn, Mary Stayed Out All Night (Kakao Webtoons,). https://page.kakao.com/home/46413888 ACCESSED: 2018-04-24 3 Wikipedia contributors, “Mary Me, Mary!,” Wikipedia, The Free Encyclopedia, accessed March 28, 2018, https://en.wikipedia.org/w/index.php?title=Marry_Me,_Mary!&oldid=839413161. 4 It is important to note however that the ratings found were for broadcasts both on TvN and its sister channel Onstyle. https://en.wikipedia.org/wiki/Flower_Boys_Next_Door#cite_note-15 5 Korean Broadcasting System. South Koreas leading public service broadcaster. “KBS,” n.d., http://english.kbs.co.kr/about/faq.html. 1 which writers of South Korean webtoons as well as television series’ listen to and follow the advice and opinion of their viewers and readers. As both webtoons and television series are being produced as they are running,6 it is interesting to investigate how much the writers (of both media) pay attention and listen to the reactions and opinions of the viewers and readers. For example, usually a forum or a message board is set up on the official webpage of a television series for the viewers to comment and discuss the television series.7 And there is also a comment section/box at the bottom of each chapter of a webtoon, making it easy for fans of the webtoon to communicate with each other, and to show their appreciation to the artist. During the research for this thesis, however, I realised that it would have been too much for a project of a Master thesis (based on the criteria for writing a Master Thesis at the Department of Asian, Middle Eastern and Turkish Studies at Stockholm University as of 2018). However, this angle would be interesting to investigate in another research project in the future. Therefore this thesis will focus on using the above mentioned webtoon and television series to analyse the characteristics which make webtoons suitable for television series adaptation. From October 2017 to January 2018 the Korean Manhwa Contents Agency (Komacon for short)8 and the Korean
Load more

Recommended publications
  • The Impact of 'Korean Wave'on Young Indonesian Females and Indonesian Culture in Jabodetabek Area
    THE IMPACT OF ‘KOREAN WAVE’ ON YOUNG INDONESIAN. Putri And Reese THE IMPACT OF ‘KOREAN WAVE’ ON YOUNG INDONESIAN FEMALES AND INDONESIAN CULTURE IN JABODETABEK AREA Vandani Kencana Putri Matthias Reese Swiss German University, Tangerang, Indonesia Swiss German University, Tangerang, Indonesia Email: [email protected] Email: [email protected] Popular culture ‘Korean Wave’ has been reaching out all over the world since the year 2000 with the phenomenon intriguing people’s interests towards Korean culture and products. In fact, some Abstract people already prefer Korean culture and products to those from their own country. It is inevitable in Indonesia, too, where most of its K-Wave-enthusiasts are teenage to adult females. With this in mind, there is a possibility that Indonesian culture might eventually vanish in those individuals. Thus, this quantitative research focuses on Indonesian female K-Wavers between 15 and 30 years old who are living in the Jabodetabek area, and investigates their main medium of Korean Wave consumption and whether Korean Wave has an impact on individuals and on Indonesian culture itself. The results based on the data of 251 respondents show that internet is the main medium of Korean Wave consumption in the Jabodetabek area. Furthermore, the results injdicate that the Korean Wave does significantly impact Indonesian female K-Wavers in several aspects, but an impact of the Korean Wave on Indonesian culture could not be found. 35 BUSINESS AND MANAGEMENT STUDIES JOURNAL c MARC 2016 . VOL. 3 . NO.2 I. Background pop music (or K-Pop) also made a major contribution for the geographical orean popular culture, called extension of the Korean Wave across ‘Korean Wave’ or simply the globe.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Measurement of Online
    UNIVERSITY OF CALIFORNIA, IRVINE Measurement of Online Social Networks DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Networked Systems by Minas Gjoka Dissertation Committee: Athina Markopoulou, Chair Carter T. Butts Scott Jordan 2010 c 2010 Minas Gjoka TABLE OF CONTENTS Page LIST OF FIGURES v LIST OF TABLES x ACKNOWLEDGMENTS xi CURRICULUM VITAE xii ABSTRACT OF THE DISSERTATION xiii 1 Introduction 1 1.1 Motivation ................................... 1 1.1.1 Overview of Online Social Networks ................ 1 1.1.2 Why study Online Social Networks? ................. 3 1.1.3 Why sample Online Social Networks? ................ 5 1.2 Contributions ................................. 6 1.2.1 Social graph sampling ........................ 6 1.2.2 Multigraph sampling ......................... 7 1.2.3 Crawlers ............................... 7 1.2.4 Facebook applications ........................ 8 1.3 Thesis Outline ................................. 8 2 Related Work 9 2.1 Graph sampling techniques .......................... 9 2.2 Characterization studies of OSNs ....................... 13 3 Crawling Online Social Networks 17 3.1 What is crawling? ............................... 17 3.2 Data Collection ................................ 18 3.2.1 Legal Considerations ......................... 19 3.2.2 Challenges .............................. 19 3.2.3 Implementation ............................ 21 3.3 Summary ................................... 24 ii 4 Social graph sampling 26 4.1 Overview
    [Show full text]
  • Smart Speakers & Their Impact on Music Consumption
    Everybody’s Talkin’ Smart Speakers & their impact on music consumption A special report by Music Ally for the BPI and the Entertainment Retailers Association Contents 02"Forewords 04"Executive Summary 07"Devices Guide 18"Market Data 22"The Impact on Music 34"What Comes Next? Forewords Geoff Taylor, chief executive of the BPI, and Kim Bayley, chief executive of ERA, on the potential of smart speakers for artists 1 and the music industry Forewords Kim Bayley, CEO! Geoff Taylor, CEO! Entertainment Retailers Association BPI and BRIT Awards Music began with the human voice. It is the instrument which virtually Smart speakers are poised to kickstart the next stage of the music all are born with. So how appropriate that the voice is fast emerging as streaming revolution. With fans consuming more than 100 billion the future of entertainment technology. streams of music in 2017 (audio and video), streaming has overtaken CD to become the dominant format in the music mix. The iTunes Store decoupled music buying from the disc; Spotify decoupled music access from ownership: now voice control frees music Smart speakers will undoubtedly give streaming a further boost, from the keyboard. In the process it promises music fans a more fluid attracting more casual listeners into subscription music services, as and personal relationship with the music they love. It also offers a real music is the killer app for these devices. solution to optimising streaming for the automobile. Playlists curated by streaming services are already an essential Naturally there are challenges too. The music industry has struggled to marketing channel for music, and their influence will only increase as deliver the metadata required in a digital music environment.
    [Show full text]
  • Birth and Evolution of Korean Reality Show Formats
    Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre Spring 5-6-2019 Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats Soo keung Jung [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Jung, Soo keung, "Dynamics of a Periphery TV Industry: Birth and Evolution of Korean Reality Show Formats." Dissertation, Georgia State University, 2019. https://scholarworks.gsu.edu/fmt_dissertations/7 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. DYNAMICS OF A PERIPHERY TV INDUSTRY: BIRTH AND EVOLUTION OF KOREAN REALITY SHOW FORMATS by SOOKEUNG JUNG Under the Direction of Ethan Tussey and Sharon Shahaf, PhD ABSTRACT Television format, a tradable program package, has allowed Korean television the new opportunity to be recognized globally. The booming transnational production of Korean reality formats have transformed the production culture, aesthetics and structure of the local television. This study, using a historical and practical approach to the evolution of the Korean reality formats, examines the dynamic relations between producer, industry and text in the
    [Show full text]
  • The Korean Internet Freak Community and Its Cultural Politics, 2002–2011
    The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 by Sunyoung Yang A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Anthropology University of Toronto © Copyright by Sunyoung Yang Year of 2015 The Korean Internet Freak Community and Its Cultural Politics, 2002–2011 Sunyoung Yang Doctor of Philosophy Department of Anthropology University of Toronto 2015 Abstract In this dissertation I will shed light on the interwoven process between Internet development and neoliberalization in South Korea, and I will also examine the formation of new subjectivities of Internet users who are also becoming neoliberal subjects. In particular, I examine the culture of the South Korean Internet freak community of DCinside.com and the phenomenon I have dubbed “loser aesthetics.” Throughout the dissertation, I elaborate on the meaning-making process of self-reflexive mockery including the labels “Internet freak” and “surplus (human)” and gender politics based on sexuality focusing on gender ambiguous characters, called Nunhwa, as a means of collective identity-making, and I explore the exploitation of unpaid immaterial labor through a collective project making a review book of a TV drama Painter of the Wind. The youth of South Korea emerge as the backbone of these creative endeavors as they try to find their place in a precarious labor market that has changed so rapidly since the 1990s that only the very best succeed, leaving a large group of disenfranchised and disillusioned youth. I go on to explore the impact of late industrialization and the Asian financial crisis, and the nationalistic desire not be left behind in the age of informatization, but to be ahead of the curve.
    [Show full text]
  • Reuters Institute: the Future of Voice and the Implications for News
    DIGITAL NEWS PROJECT NOVEMBER 2018 The Future of Voice and the Implications for News Nic Newman Contents About the Author 4 Acknowledgements 4 Executive Summary 5 1. Methodology and Approach 8 2. What is Voice? 10 3. How Voice is Being Used Today 14 4. News Usage in Detail 23 5. Publisher Strategies and Monetisation 32 6. Future Developments and Conclusions 40 References 43 Appendix: List of Interviewees 44 THE REUTERS INSTITUTE FOR THE STUDY OF JOURNALISM About the Author Nic Newman is Senior Research Associate at the Reuters Institute and lead author of the Digital News Report, as well as an annual study looking at trends in technology and journalism. He is also a consultant on digital media, working actively with news companies on product, audience, and business strategies for digital transition. Acknowledgements The author is particularly grateful to media companies and experts for giving their time to share insights for this report in such an enthusiastic and open way. Particular thanks, also, to Peter Stewart for his early encouragement and for his extremely informative daily Alexa ‘flash briefings’ on the ever changing voice scene. The author is also grateful to Differentology andY ouGov for the professionalism with which they carried out the qualitative and quantitative research respectively and for the flexibility in accommodating our complex and often changing requirements. The research team at the Reuters Institute provided valuable advice on methodology and content and the author is grateful to Lucas Graves and Rasmus Kleis Nielsen for their constructive and thoughtful comments on the manuscript. Also thanks to Alex Reid at the Reuters Institute for keeping the publication on track at all times.
    [Show full text]
  • 2014 ESG Integrated Ratings of Public Companies in Korea
    2014 ESG Integrated Ratings of public companies in Korea Korea Corporate Governance Service(KCGS) annouced 2014 ESG ratings for public companies in Korea on Aug 13. With the ESG ratings, investors may figure out the level of ESG risks that companies face and use them in making investment decision. KCGS provides four ratings for each company which consist of Environmental, Social, Governance and Integrated rating. ESG ratings by KCGS are graded into seven levels: S, A+, A, B+, B, C, D. 'S' rating means that a company has all the system and practices that the code of best practices requires and there hardly exists a possibility of damaging shareholder value due to ESG risks. 'D' rating means that there is a high possibility of damaging shareholder value due to ESG risks. Company ESG Integrated Company Name Code Rating 010950 S-Oil Corporation A+ 009150 Samsung Electro-Mechanics Co., Ltd. A+ 000150 DOOSAN CORPORATION A 000210 Daelim Industrial Co., Ltd. A 000810 Samsung Fire & Marine Insurance Co., Ltd. A 001300 Cheil Industries Inc. A 001450 Hyundai Marine&Fire Insurance Co., Ltd. A 005490 POSCO. A 006360 GS Engineering & Construction Corp. A 006400 SAMSUNG SDI Co., Ltd. A 010620 Hyundai Mipo Dockyard Co., Ltd. A 011070 LG Innotek Co., Ltd. A 011170 LOTTE CHEMICAL CORPORATION A 011790 SKC Co., Ltd. A 012330 HYUNDAI MOBIS A 012450 Samsung Techwin Co., Ltd. A 023530 Lotte Shopping Co., Ltd. A 028050 Samsung Engineering Co., Ltd. (SECL) A 033780 KT&G Corporation A 034020 Doosan Heavy Industries & Construction Co., Ltd. A 034220 LG Display Co., Ltd.
    [Show full text]
  • « WEBTOON, Spécial Pyeongchang »
    COMMUNIQUÉ DE PRESSE « WEBTOON, Spécial PyeongChang » EXPOSITION DU 19 JANVIER AU 28 FEVRIER 2018 AU CENTRE CULTUREL CORÉEN Vernissage le mercredi 24 janvier 2018 à partir de 18h Une exposition à double thématique, nommée pour l’occasion «Webtoon, Spécial PyeongChang », s’ouvrira à Paris du 19 janvier au 28 février 2018 dans la grande galerie du Centre Culturel Coréen. Il s’agit de la première exposition de webtoons organisée conjointement par le Centre Culturel Coréen et la Korea Manhwa Contents Agency (KOMACON). © Korea Manhwa Contents Agency (KOMACON) Le terme « Webtoon » - combinaison des mots « web » et « toon » (cartoon) -, désigne la bande dessinée numérique diffusée sur le net. Il y a actuellement en Corée 59 plateformes avec 3183 auteurs de BD et 9148 différents cartoons disponibles. Les webtoons sont accessibles depuis un mobile et peuvent être regardés quel que soit le lieu où on se trouve : dans le métro, dans le bus, dans la rue… C’est certainement cette grande accessibilité qui explique le véritable « boom », ces dernières années, de ce nouveau type de bande dessinée en Corée. L’exposition « Webtoon, Spécial PyeongChang », outre l’objectif d’aborder le thème des J.O. d’hiver, permettra de faire découvrir aux visiteurs du Centre Culturel le potentiel à la fois technologique et créatif des webtoons coréens. Scindé en deux grandes parties avec une zone 1 « webtoon » d’un côté et une zone « J.O. de PyeongChang à travers les manhwas » de l’autre, l’espace d’exposition abordera chacun des deux thèmes sous un éclairage différent. Dans la zone « webtoon », on pourra découvrir l’histoire des BD coréennes en ligne, ainsi qu’une présentation des plateformes de diffusion disponible en France et aux États-Unis, telles que Delitoon, Line Webtoon, Lezhin Comics, Tapas Media, TappyToon, etc.
    [Show full text]
  • Investor Relations I August 2015 Company Mission & Business Area
    Investor Relations I August 2015 Company Mission & Business Area A Mobile Lifestyle Platform Daum Kakao provides mobile lifestyle services that make everyday connections boundless and better Our mission is to “Connect Everything” Connecting users, businesses, and more together on our platform in a way that touches every aspect of our lives Communication & Search & Media & Commerce & Taxi & Community Recommendation Content Games Fintech Others Media 2 Created Through the Merger of Leading Internet & Mobile Platforms Feb 1995 1999 2005 2009 2013 Established Daum Café Daum Blog Map. Mobile Global Utility Apps Daum “Tistory” Service “SolMail” Communications “SolCalendar” 1997 2000 2006 Jun 2015 Daum E-mail Daum Search Daum TV Kakao#Search Jan 2015 May 2015 “Hanmail” “TV Pot” KakaoChannel K Venture Group Path KakaoTV Mobile Lifestyle Platform Oct. 1, 2014 Merger between Daum and Kakao Nov 2014 Mar 2015 May 2015 BankWalletKakao KakaoTaxi LOC&ALL (KimGiSa) Mar 2010 Mar 2012 Aug 2014 KakaoTalk KakaoStory YellowID Dec 2006 Sep 2010 Jul 2012 Sep 2014 Established Changed company KakaoGames KakaoPay IWILAB Name to Kakao 3 Diversified Platform Leveraging Content, Social Graph and User Traffic Daum Kakao’s Assets and Expertise Diverse Platforms Leading to Growth and Monetization #1 Communications Kakao Kakao Kakao Contents & Community Talk Story Hello #2 Advertising Kakao Platform Daum Story YellowID #3 Assets Recommendation Daum Kakao(#) KakaoTalk & Search Search Search Channel Social by advertising monetizing Traffic Graph User &engagementand base growth #4 Media & Content Daum Media KakaoTV KakaoPage n Contents: 14 years of accumulated contents of Daum #5 Search and continued creation of contents by Kakao Games Kakao Kakao Daum platforms including KakaoStory, Brunch, Plain, etc.
    [Show full text]
  • Understanding and Mitigating Security Risks of Voice-Controlled Third-Party Functions on Virtual Personal Assistant Systems
    Dangerous Skills: Understanding and Mitigating Security Risks of Voice-Controlled Third-Party Functions on Virtual Personal Assistant Systems Nan Zhang∗, Xianghang Mi∗, Xuan Fengy∗, XiaoFeng Wang∗, Yuan Tianz and Feng Qian∗ ∗Indiana University, Bloomington Email: fnz3, xmi, xw7, [email protected] yBeijing Key Laboratory of IOT Information Security Technology, Institute of Information Engineering, CAS, China Email: [email protected] zUniversity of Virginia Email: [email protected] Abstract—Virtual personal assistants (VPA) (e.g., Amazon skills by Amazon and actions by Google1) to offer further Alexa and Google Assistant) today mostly rely on the voice helps to the end users, for example, order food, manage bank channel to communicate with their users, which however is accounts and text friends. In the past year, these ecosystems known to be vulnerable, lacking proper authentication (from the user to the VPA). A new authentication challenge, from the VPA are expanding at a breathtaking pace: Amazon claims that service to the user, has emerged with the rapid growth of the VPA already 25,000 skills have been uploaded to its skill market to ecosystem, which allows a third party to publish a function (called support its VPA (including the Alexa service running through skill) for the service and therefore can be exploited to spread Amazon Echo) [1] and Google also has more than one thousand malicious skills to a large audience during their interactions actions available on its market for its Google Home system with smart speakers like Amazon Echo and Google Home. In this paper, we report a study that concludes such remote, large- (powered by Google Assistant).
    [Show full text]
  • Le Marché De La Bande Dessinée Numérique Et Les Ressources Mises À Ma Disposition M’Auront Éclairé Un Peu Plus Sur Le Sujet Et Ses Enjeux
    Diplôme national de master Domaine - sciences humaines et sociales Mention – sciences de l’information et des bibliothèques Parcours – publication numérique Septembre 2018 Septembre / Le marché de la Bande dessinée nativement numérique Mémoire de fin d’étude de fin Mémoire Sarah SCHWEIGHOFFER Sous la direction de Benoît Epron Maître de conférences – enssib Remerciements Je tiens tout d’abord à remercier Monsieur Benoît EPRON et Monsieur Antoine FAUCHIE, respectivement Maître de Conférences et Chef de projet Web indépendant, pour leurs précieux conseils quant à l’élaboration et l’orientation de ce mémoire. Je souhaite aussi exprimer ma gratitude envers Monsieur Pascal ROBERT, Professeur à l’Enssib, dont les cours sur la Bande dessinée - en première année de master - m’ont insufflé l’envie de découvrir davantage cet art. Sans votre passion dans votre enseignement, ce mémoire n’aurait certainement pas vu le jour. Merci à vous. Je souhaiterais ensuite remercier le dessinateur et réalisateur Victor Dulon – alias Vidu – pour m’avoir laissé utiliser sans hésitation son œuvre L’Immeuble pour illustrer mes propos sur le Turbomédia. Ce mémoire a gagné en couleurs grâce à vous. Ma reconnaissance va ensuite à Monsieur Denis ZWIRN, Président au sein de l’entreprise Numilog, passionné par la Corée du Sud, lecteur de manhwa et de webtoons : votre point de vue sur le marché de la bande dessinée numérique et les ressources mises à ma disposition m’auront éclairé un peu plus sur le sujet et ses enjeux. Enfin je tenais à remercier les personnes ayant contribué
    [Show full text]
  • Schlage Electronics Brochure
    Safer. Smarter. More stylish. SCHLAGE KEYLESS LOCKS Deliver quality and innovation with reliable access control systems from Schlage. PROVIDE YOUR CUSTOMERS WITH SIMPLE, KEYLESS SECURITY. HUB HUB HUB CONNECTION CONNECTION CONNECTION HUB HUB HUB CONNECTION CONNECTION CONNECTION FREE FREE FREE APP APP APP BUILT-IN BUILT-IN BUILT-IN WIFI WIFI WIFI SMART WIFI DEADBOLT HANDS-FREE HANDS-FREE HANDS-FREE VOICE CONTROL VOICE CONTROL VOICE CONTROL A smarter way in. The built-in WiFi of the Schlage EncodeTM Smart WiFi Deadbolt provides secure remote access from anywhere – no hubs or adapters required – making integration with smart home technology seamless and simple. LIFETIME LIFETIME LIFETIME GUARANTEE GUARANTEE GUARANTEE SMART LOCK. SMART INVESTMENT. ● Works with Schlage Home app, Key by Amazon and Ring Video Doorbell ● Use the Schlage Home app to update the lock to the latest features SECURITY AND DURABILITY EASY EASY EASY INSTALLATION INSTALLATION INSTALLATION ● Built-in alarm technology senses potential door attacks ● Highest industry ratings for residential Security, Durability and Finish ACCESS CODES ● Schedule access codes so guests can only enter when you want them to ● Lock holds up to 100 access codes The Schlage Home app provides simple setup, remote connectivity and future compatibility exclusively for the Schlage Encode Smart WiFi Deadbolt and Schlage Sense Smart Deadbolt. 3 SMART DEADBOLT Smart made easy. The Schlage Sense® Smart Deadbolt makes it easy to set up and share access with the Schlage Home app for iOS and Android™ smartphones.
    [Show full text]